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You may well be right, however I don’t personally identify a quality difference between bound and unbound fingerboards in a guitar… To me a bound fingerboard adds contrast, not quality… I wonder if there is any other reason? To my mind it could adds a potential failure point upon gluing (I believe Martin have had binding issues in the past – not SCGC) and would require extra care with re-frets, so given the extra care required to add it, I wondered if there were another distinct advantage?…
Hello. Yes I did listen to the podcast this morning. It was a great listen, particularly as I’m the custodian of a SCGC Tunnel 13 Redwood OM!
Keep up the good work!
Tony
Also interesting to note. Although it is commonly called a ‘pine’ it is not a member of the pine (pincea) family at all, and is it’s own unique genus (Lagarostrobos franklinii) endemic to a this remote area of Tasmania Australia and as far as I’m aware nowhere else it the world, with no other close relatives… It’s slow growing and can have a life span exceeding 2000 years! It’s a story akin to the Coastal Redwoods that are held so dear to those close by Santa Cruz… There are a few examples of Huon Pine used as a tonewood in Australia and from what I have read it is quite highly regarded, but I don’t know that it has really taken off, but I think that may be due to both its scarcity and the difficulty of introducing a new wood to the guitar market. It might be a bit like the story Richard tells in the podcasts of when Koa was first introduced to the market.
